Located in Downtown North Adams, this beautiful Romanesque Revival commercial block is one of the better designed buildings in the region. Designed by architect H. Neill Wilson of Pittsfield, the Romanesque headquarters with fine terra cotta decorations cost $60,000 to build. When built in 1893, the stone over the storefronts were carved to display the bank’s name. The two venerable institutions merged into the North Adams Hoosac Savings Bank in 1962. In 2013, the bank merged with MountainOne Bank.
This stunning Stick style house in North Adams was built for Charles Cutting (1850-1940), founder of the C. H. Cutting Company, a prosperous clothing company in town. The company started as a partnership between 20-year old Cutting and a Mr. Silsby, who retired just a year after co-founding the company. Cutting used his business connections to help establish other local clothing companies including the Bay State Clothing Company in Adams, the Orange Clothing Company in Orange, MA, and the Athol Clothing Company in (you guessed it) Athol. With his wealth, he had this amazing Victorian home built on East Main Street where he lived until his death in 1940.
North Adams in Western Massachusetts was incorporated as a city in 1895, separating from Adams, MA in 1873. The town was flourishing as an industrial center due to it’s location on the confluence of the Hoosic River’s two branches here. Thanks to the Arnold Print Works (now Mass MoCA), the town’s population doubled in twenty years after incorporation. Due to this, the United States Post Office and Treasury Department decided to build a large post office, a size that would allow the growing city to fill into. The Georgian Revival post office building is credited to James A. Wetmore, who was actually not an architect, but an attorney and Executive Officer of the Office of the Supervising Architect, within the Treasury Department (what a title). He later became the Supervising Architect without any known education in design. As Supervising Architect, he managed a staff of nearly 1700 architects and draftsmen who designed at least 2000 federal government buildings, including courthouses and post offices. The North Adams Post Office, remains a landmark of a city which has sadly seen a declining population every decade since 1940.
Located on Trinity Park in Wesleyan Grove (aka the Martha’s Vineyard Camp Meeting Association), this 1878 church served the year round Methodist community in Oak Bluffs. The Trinity Methodist Church is a towered, Victorian Gothic structure of some distinction. Edward M. Hyde, a Methodist minister who had trained in architecture and art, designed it. The property that the church and Parish House sit on belongs to the Association, but the buildings are maintained by the congregation. Interestingly, should the congregation disband, the buildings would return to the Association.
This quaint little summer cottage in Wesleyan Grove was built in 1875 for Hanson Arnold, a merchant and methodist from Woonsocket, R.I. The home is typical of many other summer cottages in Oak Bluffs on Martha’s Vineyard, with its delicate stick work, turned posts, full-length porch, and second story balcony with pierced bargeboards. The home was at one point named “Seas the Day”, a trend of naming the cottages occurred sometime in the 20th century by families who summered on the island, many incorporating the family’s name somehow. The home was restored recently with all new detailing and a reversion back to the original porch configuration.
This cottage on Ocean Ave in Oak Bluffs was built before 1880 for J.F. Riday, a manager at the American Mail and Export Journal at the Wesleyan Building on Bromfield Street in Boston. The quaint cottage was photographed shortly after it was built with Riday and two women (one likely being his wife) posing on the front porch overlooking the ocean. By the early 20th century, the home was owned by George and Corielle Evans, a couple from Mexico. They likely modified the home with the shingled siding and front porch with sheltered balcony above, while the original lancet windows and doors remained.
This charming little cottage in Oak Bluffs was built in 1876 for Charles N. Jones, a resident of Medford, MA who had a home built there in 1872. His family’s summer cottage on Martha’s Vineyard was designed by the Ripley Brothers, Alonzo and Walter, carpenters who lived in town and designed and built many of the charming little summer homes there. The home features a wrap-around porch, a covered balcony at the second floor, and pierced board balustrade and cornerboards. Oh, and the paint scheme is perfect!
Located on the iconic Circuit Street in Oak Bluffs, this Eclectic Victorian cottage has a storied past related to Black history on the island. Even though Oak Bluffs was a relatively safe place for African Americans to be, there were still limits on their rights. In some parts of Oak Bluffs there were laws that said that certain property could only be owned by whites. The island became a vacation spot for thousands every summer in the 19th century and seeing a lack of options for Black travelers, Mrs. Georgia O’Brien and Ms. Louisa Izett began to operate an inn for people of color. The inn was one of two such residences in Oak Bluffs and has since been listed on the African American Heritage Trail of Martha’s Vineyard. The home has since been named the Tivoli Inn and retains much of the original gingerbread trim. In recent years, Martha’s Vineyard was given the nickname, “The Black Hamptons,” due to its popularity as a place for wealthy African-Americans to vacation, it remains a very diverse island in summer months.
On a last-minute trip to the Berkshires, I couldn’t help but stop at the recently re-opened Massachusetts Museum of Contemporary Art (Mass MoCA) in North Adams. Being a huge nerd for industrial history and repurposed mills and factories, it was an absolute treat to walk through the large brick and steel buildings and wings lined with steel casement windows providing the perfect scenery for some amazing artworks. What is now known as Mass MoCA, – one of the premier art museums in New England – was once Arnold Print Works, a one time world leader in textile manufacturing with offices in New York City and Paris.
The Arnold Print Works were built on the Hoosac River near the center of North Adams. The company was the town’s largest industry during the city’s economic heyday from the Civil War until the early 20th century. The company was founded in 1861 by the John, Oliver, and Harvey Arnold, who began production of printed cloth at an existing cotton mill. At the dawn of the American Civil War, the newly formed company became flush with money due to government contracts for manufacturing Union Army uniforms. The company expanded after the war until a fire destroyed nearly all of the wooden buildings on the site. After the fire, a majority share of the company was purchased by Albert Charles Houghton, who became the first mayor of North Adams, and he oversaw the expansion and prosperity of the company, starting with new buildings of fire-proof construction.
By the early 20th century, many textile and cotton manufacturing shifted to the American South severely crippling the mill’s profits. In 1929, Sprague Electric Company moved to North Adams from Quincy, Massachusetts, and began buying the Arnold Print Works buildings. The print works moved much of its operation to nearby Adams and concentrated on a few particular products in its North Adams plant. The print works was finally sold in 1942 for just $1.9 million dollars, a far departure from its once prosperous past. The plant was shortly thereafter acquired by Sprague Electric Company.
While largely leaving the building exteriors as they were, Sprague made extensive modifications to the interiors to convert the former textile mill into an electronics plant. Sprague physicists, chemists, electrical engineers, and skilled technicians were called upon by the U.S. government during World War II to design and manufacture crucial components of some of its most advanced high-tech weapons systems, including the atomic bomb.
[Outfitted with state-of-the-art equipment, Sprague was a major research and development center, conducting studies on the nature of electricity and semi-conducting materials. After the war, Sprague’s products were used in the launch systems for Gemini moon missions, and by 1966 Sprague employed 4,137 workers in a community of 18,000, existing almost as a city within a city. From the post-war years to the mid-1980s Sprague produced electrical components for the booming consumer electronics market, but competition from lower-priced components produced abroad led to declining sales and, in 1985, the company closed its operations on Marshall Street.] (Mass MoCA History)
The complex sat vacant briefly before the Williams College Museum of Art, led by its director, Thomas Krens—who would later become Director of the Solomon R. Guggenheim Museum—advocated for a museum space for contemporary art that would not fit in traditional art galleries. The nearby Arnold Mills seemed like a perfect, yet daunting task to repurpose. Bruner/Cott Architects of Cambridge were hired to repurpose the mills and oversee the massive adaptive reuse project which today totals nearly 300,000 square feet of galleries and art venues.
The Massachusetts Normal Art School was one of the many Richardsonian Romanesque buildings constructed in the Back Bay, but it did not survive like so many others did. The building’s history goes back to the 1860s, when wealthy Bostonians petitioned for the Commonwealth of Massachusetts (State Government) to assist with the founding of new institutions to enhance the quality of life in the state. Due to this, the legislature funded three major institutions including the Massachusetts Institute of Technology (1860) and the Museum of Fine Arts (1870), and founded in 1873, the Massachusetts Normal Art School. The Normal Arts School was tasked with training future teachers for public schools and budding professional artists in the arts, with courses ranging from drawing to architecture. The Commonwealth of Massachusetts rented space in various buildings in Downtown Boston before they appropriated $85,000 and hired the firm of Hartwell & Richardson to design and oversee construction of the new school at the corner of Newbury and Exeter Streets. The Richardsonian Romanesque building was constructed of red brick and brown freestone, featured entrances on both street facades, and held gallery spaces inside for members of the public to view the work created at the school. The school outgrew the original building, which could comfortably fit just 100 students, and in 1929, a new building was constructed at Brookline and Longwood Avenues. Before moving one more time to its current location in 1983, the school was renamed to the Massachusetts College of Art and is best known as MassArt today. The original school in Back Bay was demolished in 1967 and was home to a surface parking lot before the existing building was constructed.
Standing just 24 years, the Hotel Boylston at the corner of Boylston and Tremont Streets, evoked the Victorian-era grandeur of Boston. Built in 1870, the Victorian Gothic hotel (what we consider apartment building today) was designed by the architectural team of Cummings and Sears, who were very busy at the time in Boston and beyond. The 5 1/2-story building was constructed of sandstone and featured Gothic arches, dormers of varied sizes and shapes, and a mansard roof with iron cresting. The building (and the three others on Tremont Street) was razed in 1894 and replaced with the Hotel Touraine a few years later.
Formerly located on Tremont Street in Downtown Boston, this ca.1670 Georgian gambrel home went from residence to candy shop to billboard in its lifetime. The home was constructed by John Crane (1744-1805), who was a housewright by trade but a patriot and soldier most importantly. At the tender age of 12, he had an early military experience when he substituted for his father in the French and Indian War when his father received the draft. Records state that Crane was an active member the Sons of Liberty, a secret revolutionary organization that was founded by Samuel Adams to fight taxation from the British government. Hours before the Boston Tea Party, Crane and the other participants met at his shop at his home to disguise themselves as American Indians as disguises for the events that would take place that night. He was in the hold of one ship when he was knocked unconscious by a falling crate of tea. His fellow patriots thought him dead and hid him under a pile of wood shavings in a carpenter’s shop off the harbor, only for Crane to recover later. Less than a year later, Crane and his family moved to Providence, Rhode Island where he would later serve under a militia there in the Revolutionary War. After serving, and seeing battle, he was awarded land in Whiting, Maine (Maine was part of Massachusetts at the time) where he built a home and spent his last days.
Crane House, c.1880s, courtesy of BPL.
His former house on Tremont Street in Boston was occupied as a home until the late 19th century until it was occupied by a confectionary shop, with a storefront added on the street. Due to the shifting demand for theater-oriented development and lodging, the candy shop began struggling. The owner, James Grace, then allowed for the home to be covered with signage and notices advertising various theaters nearby. Ironically, the home was demolished by 1908 for the Shubert Theater, which remains today.
Perched atop a seaside cliff on a neck jutting into the Atlantic ocean, this large summer cottage exhibits the rugged, yet enchanting character of the Maine coast. The house is part of the Cape Arundel Summer Colony and is one of the last built as part of the original period of development. The home was designed by Henry Paston Clark, a Boston architect who previously built a home on Cape Arundel and had summered there for years. His most notable design here is St. Ann’s Church, built for the summer residents of the area. The Bayberry Cove Cottage was built in 1915 for James Harrison and his wife and employed the use of cedar shingles, stone, and slate, to blend in with the rugged plot of land.
One of the larger Shingle style homes in Kennebunkport, Inglesea Cottage, was designed in 1889, possibly by Henry Paston Clark, who designed or worked on many homes and buildings in the summer colony. The original owner, Dr. George Frederick Brooks, a doctor based out of New York, who spent his childhood on the coast of Maine, and decided to spend his elderly summers there. By 1903, the home was purchased by Ms. Lucy Fay (1864-1937) of Fitchburg, MA, who hired Henry P. Clark, to add the cross gambrel addition to enlarge the home. Lucy Fay was the daughter of the the wealthy industrialist George Flagg Fay and his wife, Emily Upton, and upon their deaths, inherited their fortune (her sister died at just seven years old, making her an only child). The home remains in impeccable shape and is a head-turner everytime I drive down the coast.
One of the more unique summer cottages in Kennebunkport is the Talbot Cottage, a ca.1890 eclectic Shingle style home. The home features curvilinear Flemish gables crowned with ball finials, diamond paned windows, gabled dormers with finials and pendants, and a wrap-around Colonial Revival porch with fluted columns. The stunning home was built for Julian Talbot, of the Talbot Family who ran a mill in Lowell, MA. The home was soon after sold to George Hubbard Clapp, a Pittsburgh pioneer in the American aluminum industry, who summered in Kennebunkport.
